• 한국농촌생활과학회지
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• 제10권1호
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• pp.43-57
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• 1999

A style of art is an expression of human aesthetic desires, social environment and other cultural yeatures of that time. costume as a means of physical existence of such expression cannot be studied apart from the art style of any given time. In this paper an attempt is made to find out the characteristics of costumes in Renaissance and Barogue by examing the theory of Wolfflin. The organic relationship with the manifestation of human beauty in the genuine art and its formality was clear so that the fact that the dress and its costume are actually a synthetic art and there is close connection with genuine art were made clear. In conclusion, costume and art style are in different genre, they pursued the same way in the same category of Wolfflin's theory in Renaissance and Baroque.

• 한국실내디자인학회논문집
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• 제26권1호
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• pp.142-152
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• 2017

This study investigated Renaissance and Baroque architectural characteristics found in contemporary public buildings in Seoul, which are National Museum of Modern and Contemporary Art Seoul Branch(MMCA) and Dongdaemun Design Plaza(DDP). Among H. $W{\ddot{o}}lfflin^{\prime}s$ five categories for Renaissance-Baroque art study, four categories (Clearness/Unclearness, Plane/Recession, Closed form/Open form, Multiplicity/Unity) are applied for the analysis as the architectural issues of Transparency/Concealment, Exhibited/Experienced Depth, Formal/Figural, and Composed harmony/Generated Unity. As a result, MMCA showed the characteristics of the extreme of Modern classic such as transparency, homogenization of space, formalism, and composition of multiple elements. Meanwhile, the study could find various Baroque characteristics from DDP such as separation of indoor and outdoor, phenomenological depth, rule breaking, and generation of figure. The study finally argued that DDP would not be an anti-modern, but try to inherit and overcome the modern architecture to explore different possibilities, and that the similar relationship between Renaissance and Baroque art could be found in these two cases.

• 건축역사연구
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• 제1권2호
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• pp.159-171
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• 1992

Renaissance Age is called the Period of Discovery because of great development of the economy and the science, and is known the Period of scientific analysis of Man and of interest of Nature out of a blind obedience in the Middle ages. Especially in visual art architecture, painting and sculpture, the rational spirit of Renaissance actually and distinctly communicates the meaning of Work through the scientific and mathematical expression after a finding Perspective by Brunelleschi. So the puropse of this study is to clarify the substancial meaning of Renaissance Art by investigating the expression applied Perspective to the works of Brunelleschi's architecture, Donatello's sculpture and Masaccio's painting.

• 건축역사연구
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• 제15권1호
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• pp.61-76
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• 2006

The stage is ceremonial and legendary space unlike the ordinary world. Performance is not simply scrip-staged, but spatial art based on tempo that transmits extreme condition. The stage art is a visual art combined with stage settings, lighting, customs and the like. I exemplify the stage of Middle Age and Renaissance in the history of the art of public performance and so I review that what meditative functions each stage perform and that as what pattern of media it can be conceptualized. In this thesis, I divide the places of public performance Into the spaces of proscenium and polygon and also set up the concepts of hot and cool that McLuhan presents for each space. So, the degree of participation could be different according to the distinction of quantity of information, which is communication following the patterns of spaces. The basis of public performance might be the communication between co-actors and audiences. Since the sense of the art of public performance is the art in the process of establishing the meaning based on the communication with co-actors, it is not a confirmed and fixed one, but rather a reflexive one that can be created and changed continuously. Therefore, audiences should be regarded as the subjects, who are making the art of public performance with co-actors.

• 문화기술의 융합
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• 제10권6호
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• pp.371-376
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• 2024

본고는 초기 르네상스 시대 미술가 첸니노 첸니니의 저서 『미술의 책』에 나타난 인문주의 미술이론의 주요 특성을 분석한다. 14세기 말에 집필된 그의 책은 르네상스의 문을 열면서 역사상 최초로 문학의 시적 함의와 수사학으로부터 미술을 독립시키려 했다. 첸니니는 미술, 특히 회화의 창의적 본질을 사회에서 인정받으려고 노력하였다. 첸니니의 이러한 의지는 이후 알베르티와 레오나르도에 의해 15~16세기에 발표되는 위대한 미술이론 전개의 출발점이되기 때문에, 첸니니에 대한 연구의 역사적 필요성은 충분히 인정된다. 그러므로 본고는 미술가의 사회적 위상은 물론이고 미술의 지성적 잠재력에 대해 학술적인 관심을 불러일으킨 첸니니가 미술이론가로서의 면모를 드러내며 역사에 그 이름을 남기게 된 근거를 찾아보았다. 본고의 제1장에서는 『미술의 책』의 탄생 배경을 우선 검토하였다. 이어지는 본문에서는 첸니니의 『미술의 책』이 최초의 인문주의 미술이론서로 평가받을 수 있게 하는 이론적 특성을 다음과 같이 세 영역으로 유형화 하였다: 1) 회화와 자유예술과의 관계, 2) 정신과 손의 연결로서의 디제뇨, 3) 회화예술의 교육. 이러한 과정을 거쳐 필자는 『미술의 책』이 특유의 비체계적 구조를 통해서 회화예술을 위한 실제적인 지침과 윤리적 권고를 조합하였다는 사실을 발견하였다. 이에 첸니니의 시도는 미술의 지성적 해방을 위한 역사적 실천이요, 르네상스 인문주의 미술이론 생산의 영감을 제공하는 역사적 토대로 규정된다.

• 복식문화연구
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• 제18권2호
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• pp.261-276
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• 2010

The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich W$\ddot{o}$lfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which W$\ddot{o}$lfflin directly dealt. As for the theoretical literature review, I used W$\ddot{o}$lfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.

• 복식
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• 제57권7호
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• pp.15-29
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• 2007

H. $W\"{o}lfflin's$ methodology created viewpoint of art history which is an essential factor of art, and proposed formal analysis as an academic methodology specific to art history. H. $W\"{o}lfflin's$ expressed the see-form a as the five pair concepts which are summarized by 'linear-painterly' 'the plane-the deep'. 'closed form-open form', 'multiplicity-unity', 'absolute clarity-relative clarity'. His methodology is not only in the field of art and architecture but also clothing because during the same period have a relative tendency of thought, culture, politics and economics each other. As the result of this study were as follows. Renaissance of 16 century, the style of dress was enormous and dignified by body support outfit, hard puffs, slashes, padding and expansive jewels. It make appearance of man and woman absolute clarity because Classicism styles of aesthetic consciousness is geometrically perfect form and symmetry and restrained harmony, magnificent. Baroque of 17 century, the style of dress was vigorous mobility and subtle balance by abundant and free silhouette, soft collar, magnificent ribbon loop and tassel without body support outfit. It make appearance of man and woman comfortable and natural because Baroque styles of aesthetic consciousness is extraordinary degree of originality and creativity that was evident in the devising of new styled.

• 문화기술의 융합
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• 제10권6호
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• pp.239-244
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• 2024

본고는 세계에서 가장 중요한 미술사 문헌으로 평가받는 『치마부에부터 당대에 이르는 이탈리아의 가장 뛰어난 건축가들, 화가들, 조각가들의 생애』(이하 『미술가 열전』)의 저자 조르지오 바자리의 미술이론을 분석한다.『미술가 열전』은 200여 명에 이르는 르네상스 시대 미술가들에 관한 사실, 지식, 비평을 비롯해 세간에 전해 오는 흥밋거리 등을 담아 미술가와 미술작품의 새로운 위상을 세우고, 미술을 둘러싼 사회문화적 환경을 기술함으로써 미술사 학적 언어의 표준화 장소로 자리매김 되었다. 그러므로 『미술가 열전』은 그 자체의 존재론적 가치 못지않게, 르네상스 미술사의 계승적 맥락과 그에 따라 창안된 주요한 용어들이 서술된 미술이론의 결집체로서의 위상을 지닌다. 이에 본고는 『미술가 열전』을 통해 바자리가 제안한 르네상스 미술이론의 핵심적 개념어들의 형성 배경과 그 각각의 의미를 고찰한다. 본고의 본문에서 다루는 디제뇨, 판타지아 같은 용어들, 그리고 파라고네에 대한 바자리의 입장 등은 15세기와 16세기 르네상스 시대에 이루어졌던 오랜 논쟁의 결과물이다. 바자리의 미술이론은 모든 예술이 서로 동등하며 공통의 목적을 지닌 '자매'라는 보편적 수용에 이른다. 이 과정에서 바자리의 『미술가 열전』은 미술의 지성화 과정의 시대적 증언으로서 기능하였기에, 향후 유럽의 휴머니즘 교육시스템에도 강력한 영향력을 발휘하며 사회와 시민의 교양 기능에도 관여하였다.

• 한국수학사학회지
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• 제19권2호
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• pp.59-76
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• 2006

본 논문은 탈근대화의 영향으로 등장한 카오스 이론의 시각으로, 수학과 미술의 관련성을 연구하였다 중세 말에서 르네상스로 접어드는 13-14세기, 르네상스의 개화기인 15, 16세기 그리고 16세기말에서 바로크 시대로 접어드는 세 시기에 시대정신이 역동적 체계에서 어떻게 구축되는지를 조망하였다. 시간의 흐름과 더불어 역동적으로 변모해가는 문화와 역사는복잡계의 전형이기 때문이다.

• Journal of information and communication convergence engineering
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• 제8권5호
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• pp.595-601
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• 2010

The strategy through visual sense is one of the ways that subject builds the outside world and communicates. The visual sense seems higher level of dependence than the other senses and contributes to intercommunication. For this reason, the desire of image dates back to primitive art and visual image(visual media and visual culture) has dialectically developed in the history of mankind. Visual subject, based on perspective of Renaissance, was moved from God to human beings. Andre Bazin's 'la genese automatique' through technical art has epochally changed the paradigm of visual art and visual culture. From primitive art to photo and film, the image, based on visual sense, has reflected human wish, appealed visual desire and led to evolution of image. In the late 20 century, without dialectical evolution of technology and culture, rapidly progressive digital image has changed social and cultural implication over rational strategy of production and distribution and it strengthened authority of image through visual approach of endless desire. The goal of this study is to analyze the value change of digital image developing a new Renaissance through production, reading, communication, and implication of evolution due to digitalized image, which has evolved as object and tool of desire.